Month: January 2017

It took three separate purchases, multiple years, and countless attempts before I finally stuck with it and completed it, but it’s done at last: I have beaten Majora’s Mask. Strike one off the backlog, and particularly off the Bucket List.

It’s hard to say much about this game that hasn’t been said in the decade and a half since the game first debuted. There are two particularly vocal stances on how the game was received: either that it was good, but Ocarina of Time was better; or that it’s the pinnacle of the Zelda series because it eschews much of the formula in order to tell a very different and darker kind of narrative. I can see where both schools of thought would rise from, but my opinion is much more moderate than them.

I’ll cover some logistics about my playthrough first, because it’s relevant to how I approached it. Rather than play this solo, the entirety of the game was played in tandem with a good friend of mine, and while he’d finished the game many years ago he didn’t remember all the details so it was still fresh enough for us to experience unhindered. We were both present for the whole game, watched the entire thing, and just swapped controllers every so often. It was helpful to get extra opinions and suggestions for some of the trickier puzzles, and it meant we had somebody attempting new things while the other was looking up answers so we didn’t get completely complacent and reliant on guides.

This was a pretty good setup for playing the game. My friend holds Ocarina of Time in extremely high regard, so he was interested in replaying Majora’s Mask to see how it held up by contrast, and I had never experienced the game, so we both had different viewpoints that we could discuss as we progressed. It also meant that if we got stuck or frustrated, or else were doing tedious filler tasks and grinding, we could pass the controller back and forth in order to keep focused. Quite frankly, had we not been doing so, I imagine it would have taken much, much longer to finish alone – hence why I haven’t finished it before despite multiple attempts.

Nonetheless, with this setup in play, we finished the game in about four extended play sessions. We didn’t 100% the game, but we did get to the point that we considered effectively “complete” – we got all the masks, including the Fierce Deity mask, we completed most of the major sidequests in the Bomber’s Notebook (especially the legendary Anju and Kafei quest), and we made sure to beat the final boss before getting that final mask so it was still actually a challenge. Clearing it afterwards with the mask was absolutely laughable – that thing is utterly disgusting in how overpowered it is but I guess that’s the point.

So, my experience with Zelda games is actually different from many, as I usually find a lot more enjoyment in the 2D games. If I had to pick three personal favourites, they’d be Link’s Awakening, Oracle of Ages, and Wind Waker, which is different from what many consider the best entries in the series. I did enjoy Ocarina of Time and I cannot deny that it earns much of the praise it gets, but it took me almost as many attempts to finish as Majora’s Mask did, so I can hardly say that it gripped me right to the end. In fact, that’s the case with most of the non-2D Zelda games – it takes me a tremendous amount of time to stick with them long enough to see them through to the end. I don’t know if that’s anything to do with the series or just my personal approach to playing.

Regardless, Majora’s Mask is an interesting experience, but not enough to actually break that habit of not being able to stick with it. I don’t really know what that means for how the game performs as a whole. It definitely stands out in contrast to the other major Zelda games though, in the sense that the overall game experience is much more focused. Rather than the biggest, most sprawling world it can manage at the time, Majora’s Mask covers a smaller (but still sizable) area and has you focus on it and its intricacies in a more… let’s say intimate fashion.

Clock Town felt more personable to me than any part in Ocarina of Time, for example, because I spent so much time interacting with it in different ways and learning its secrets. Most importantly though, I learnt about the secrets, habits, interests and lives of the occupants. With most of the models and features lifted completely from the sister game, any developments in graphics went instead to making these characters more interesting.

Each of them had a story to tell, and the Anju and Kafei sidequest showcases that best: gradually uncovering the relationship of these two characters with their own troubles and problems, helping them out with them, and then finally being there to witness their joyous reunion literally moments before the world is ending. Their insistence on being together and waiting for each other to uphold their promise was quite touching. While it’s the major sidequest of the game, there are a number of other small examples of it throughout the game, and it really made the world of Termina feel much more personal than the average Hyrule visit.

It’s this element of delivering the narrative that allows Majora’s to really keep my attention slightly more than other Zelda games, I feel. Generally, the standard Zelda game will have you know roughly how the game is going to play out, since you’re eventually going to get all the pieces of X in order to solve Y and fight Ganon, whether that’s assembling the Triforce or finding some other means to solve the plot. Even if there’s sometimes padding between this, or the actual item gathering is split in half (like Ocarina seeing the first third of the game opening the Temple of Time, and then the second half unifying the Sages), this is generally how it pans out.

This happens in Majora’s Mask as well – restore the four spirits of the land in order to stop the moon from falling. You know that’s the objective from the end of the first three days, where Skull Kid makes it perfectly clear that the confrontation with him will be the end and everything you do works towards that. But the extra stories of the various characters across the world and how they interact or interplay with one another made it feel just that little bit more personal and appreciable to me, and I think that aids Majora’s narrative as well.

It’s also quite a dark and mature game by Zelda standards. Sure, Ocarina of Time sees the world fall to darkness under seven years of Ganondorf’s tyrannical rule, but even then the people in Kakariko Village and elsewhere are living their lives and functioning to a point. By contrast, Clock Town can see their inevitable end and knows that it will arrive in just a matter of days, with each day seeing them more and more panicked and divided on whether to flee, or whether to embrace their end.

The areas themselves are also dark, dreary and somewhat uninviting compared to their counterparts. The frozen mountain of the Gorons is cold, desolate, and lacking their leader. The Zora are depressed because their singer has lost her voice. Ikana Canyon is a desolate wasteland inhabited only by the undead and living in the shadow of their fallen kingdom – coincidentally, this was probably my favourite area in the game, since it really portrayed that sense of darkness and despair best. It was also quite sad that each transformation mask came from the death of a hero or strong representative of the race, and they all acknowledge you as that fallen person despite them actually being gone – Link gets little direct credit for much of what he accomplishes, and at the end who they believe to be their hero will be dead and gone regardless of what you accomplish.

Despite all this dreariness, it still pushed me to want to learn and explore more, and helping the residents with their issues in order to access more of the world felt much more relatable than other Zelda games. It was that extra touch that made the narrative more enjoyable to me, and so I can definitely see why it’s Majora’s Mask that is praised for being the deepest and most interesting Zelda game, if not the best in terms of gameplay.

So in gameplay, did it hold up? I think so. The core elements and items that are basically on the Zelda checklist all make their appearance, what with the bow and various magical arrows, the hookshot, the mirror shield, an instrument… but I liked that the transformation masks were all both familiar yet added new layers of complexity to the game. Goron rolling quickly became our default mode of transportation, the Zora form was useful for its interesting boomerang mechanics and awesome swimming, and fast moving, area damaging and high flying Deku Scrub can’t be understated. Swapping between masks and utilising Ocarina songs in quick succession could be awkward and irritating in places, but nothing I wasn’t able to get over quickly.

In addition, the dungeons were well designed, interesting to explore, offered a number of little exploration challenges in finding the stray fairies, and so on. I also liked that most of the key items actually came from not the primary four Temples, and the treasure of each was either the bow or a new type of arrow that behaved differently. It made it feel that you could go and explore the world more without necessarily having to go clear each dungeon sequentially, even if that’s what you did. It also allowed for a lot of time in between dungeons to be spent finding the new areas or seeing what it allowed us to do in order to better aid an NPC’s requests.

I think I’ve waxed on about the game for a bit now, so I’ll take a moment to bring up a few quick cons. Again, there were times where rapidly swapping between masks and trying to play songs frequently could get somewhat tedious, notably in the Stone Tower and subsequent Temple where you had to play the Elegy of Emptiness multiple times to hit several switches at once. The Zora behaved very awkwardly in combat, even underwater.

There was one or two puzzles that were really obtuse and needed a guide, such as allowing yourself to get grappled by an enemy in order to be thrown up to a key, even though you’d instinctively defeat the enemy each time. And a few of the sidequests relating to people were on such tight schedules and performances that it required multiple resets back to the First Day in order to complete it… though that said, with the Song of Inverted Time, I rarely felt that the time limit was otherwise too imposing or worrisome and cleared the dungeons in time.

One big thing was that many of the boss fights were extremely hit or miss. The first boss in the Woodfall Temple (don’t remember his name) was complicated and interesting. The Goron rolling chase that was Goht was a lot of fun. Fighting the skeleton bosses in the throne room of Ikana Castle was awesome, and the final boss was quite enjoyable and suitably challenging until I properly learned the pattern – I got a suitable thrill and cheer out of beating him with only a heart to spare.

But otherwise, many of the bosses were extremely weak and plain. The worms in the Stone Tower were awe-inspiring to fight even after you became Giant to combat them, but they were otherwise super simple and dull, though I understand that this fight was made more complicated and fun in the 3DS version. The fish boss in the Termina Bay Temple was dull and uninteresting, and did way too much damage for what it was. Quite a few of them just felt like a letdown.

Still, many of these are ultimately little annoyances. At the end of the day, I quite enjoyed my time in Majora’s Mask. It was an interesting narrative experience, had some well designed puzzles and dungeons, had a few good fights, and overall was an enjoyable game to play.

That said… I’m fairly certain everyone has known that since 2000. Oh well!

It’s the end of January and we’re hitting the first influx of newly released high priority games this year, so I’ll be picking up and going through as many of these as I can. Look out for my thoughts on those in the coming days.

I managed to complete two games just recently, both for PS4: Final Fantasy XV, and Gravity Rush Remastered.

There is a hell of a lot I could say about Final Fantasy XV… and unlike the vocal majority of the Internet, almost none of it is positive. Quite frankly, I hated the game. I think it was garbage. It’s really frustrating, because I started out enjoying myself immensely and seeing a lot of potential for it. In the end, however, that potential is completely squandered and every positive feature of the game was stripped away and discarded in the final chunk of it, leaving me just eager to get the damn thing over with.

Maybe there’s some decent fun to be had in FFXV, but it’s held back and quickly kicked into submission by the utterly atrocious narrative. The story is… well, bad. Nothing else to be said about it. I kept waiting for it to give context, and it never happened. Kept waiting for reasons to care about what was going on, and it never provided. The only positive thing was the banter and relationship of the lead characters, but even that felt ridiculously forced, repetitive, and completely underwhelming after just coming off Trails of Cold Steel 2.

Urgh. I’m angry again just talking about it. There’s a lot more I could say, but that’s probably best saved for official articles, so let’s talk positives: Gravity Rush.

Now this is a game I have few bad things to say about. I really enjoyed my time with this game. It’s not an overly long experience but it doesn’t feel too short, nor does it overstay its welcome. After hearing such positive things all the way back from when it released on the Vita, yet never owning one or having a PS4 until recently to play it, I’m glad it managed to live up to all expectations.

I think the best way to describe it is an alternative entry in the original open world superhero games that sprang up a few years ago, namely Infamous and Prototype. Whereas those games are fairly dark and take themselves seriously, however, Gravity Rush isn’t afraid to approach things in a much lighter fashion, even if the plot is still relatively serious. It was actually quite refreshing to see, in a way.

The biggest thing I took away from Gravity Rush is the ease of movement. I fully expected to lose my footing and have my sense of direction completely obfuscated, but somehow that never happened. No matter which way I was orienting myself and no matter how quickly I shifted gravity, the game handled simply, naturally, and didn’t 0verwhelm me with vertigo. I always had a rough idea of where I was, and the ability to simply fly around the city of Hekseville was quite a treat.

I think the design of the city was hampered somewhat by the technical limitations of the Vita, however, because the major thing telling each of the four city sections apart is the music (which is awesome, by the way – a great soundtrack is present). Visually, they kinda blended together and could get kinda same-y, making it hard to tell one apart by graphical cues alone, and the colours felt a touch muted and dull too. Nonetheless, the fact that it has to be fully realised and detailed both above and below the sections that people would usually see was a nice departure from games that are largely, well, vertical.

The narrative of Gravity Rush is fairly light, with plenty of big plot points that aren’t fully explored or delved into – partly so that it can be explored in sequels, sure, which I’ve already purchased and will tackle soon.

It also relies a bit on a writing technique that I absolutely hate: that being that one of the primary conflicts is only there because the characters refuse to sit down for two minutes and talk to each other to realise that they’re getting everything (and each other) all wrong. This basically sums up the early issues with Kat and her rival Raven – all Raven had to do was shut up for 30 seconds, listen to Kat, and work things out simply. Instead, it takes multiple run ins where other characters are telling Raven to stop being so hasty and Kat keeps insisting that doesn’t have to be a bitch, but Raven chooses not to listen until towards the end of the game. It’s irksome, but that’s the biggest negative I have to offer.

Overall, the plot is fine – it’s light, it’s simple, and it takes time to have fun with the characters to get you invested in them and their plight. The presentation of comic book art panels for most of the major exposition cutscenes is a well executed stylistic choice, and goes well with the general “superhero” theme that both the gameplay and story seems to end up with. Again, just like Infamous and Prototype, Gravity Rush is a superhero story and totally unabashed about it.

Between the handful of optional side missions and the variety of skill challenges on offer, as well as a huge array of gems scattered around the city to discover and use as power-up currency, there’s enough to break up the main missions and keep you from getting burnt out. The missions themselves generally have enough variety and make you utilise your gravity shifting powers in interesting ways.

One last point I’ll touch on is the interesting use of gravity related science in the story – namely, the compression of time and relativity due to gravity. It was subtly touched on and not fully explained, but it’s there, and if I was any stupider I probably would have missed that detail. Since I picked up on it, however, it made me smile to note. Just a small thing I wanted to mention.

So yes, I greatly enjoyed Gravity Rush Remastered and definitely recommend picking it up and giving it a whirl. It’s a fun romp and has original enough mechanics and presentation to make it quite worth your time. And just in time for Gravity Rush 2, which is getting excellent feedback and reviews. I look forward to tackling that.

Sadly, I cannot say the same for FFXV. Avoid that and go play Trails of Cold Steel instead, I insist. No doubt I will write a full article on it before long.

Every once in a while, I get the new and innovative idea of starting up a gaming blog in order to catalogue my journeys through the world of video games. In the past, these haven’t always panned out for too long, mainly because I get disinterested from lack of attention or purpose.

But that was before I was really pushing to get myself involved in video game journalism. Since that’s my current aim, I now have a lot more cause to keep writing about the games I play, if only to stay in practice and keep sharp. As such, I think it’s time to reopen a writing blog – the one you’re reading now.

So, welcome to Delfeir vs. the Backlog. As I make my way through the ever growing pile of games that I’ve amassed over many years and countless Steam sales, I plan to write a little about them, what I think, and how they stack up compared to other games I’ve played. This will probably not be anything too overly analytical or in-depth unless the mood takes me. Pieces that I’d write about current games or larger treatises will likely be published as articles elsewhere on the internet – this is much more general than that.

You can find out more about me in the About tab, which includes where to go to find my other written articles if it interests you. Feel free to contact me or comment as you will at anything you see here, and I’ll try to get back to you. At the end of the day, this is just a fun writing exercise, so let’s see how things go.